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architecture and design magazineTue, 03 Mar 2015 18:51:02 +0000en-UShourly1http://wordpress.org/?v=4.1Carey House by Henry Goss: "Visualisation played a vital role in design decisions"http://www.dezeen.com/2014/10/15/carey-house-england-henry-goss-the-boundary-visualisation/
http://www.dezeen.com/2014/10/15/carey-house-england-henry-goss-the-boundary-visualisation/#commentsWed, 15 Oct 2014 07:00:28 +0000http://admin.dezeen.com/?p=567965London architect Henry Goss has revealed how photo-realistic and 3D visualisations helped shape his design for this house in Hertfordshire, England, which is also the first output from the renderings studio he recently launched with fellow artist Peter Guthrie (+ slideshow). Henry Goss, who has produced life-like renderings for many of his projects, designed the two-storey Carey […]

]]>London architect Henry Goss has revealed how photo-realistic and 3D visualisations helped shape his design for this house in Hertfordshire, England, which is also the first output from the renderings studio he recently launched with fellow artist Peter Guthrie (+ slideshow).

Henry Goss, who has produced life-like renderings for many of his projects, designed the two-storey Carey House for a couple planning to build a home themselves.

The architect said that three-dimensional modelling helped him to work out the lighting and proportions of the property.

"This project is a classic case where visualisation played a vital role in early design decisions including daylight studies, sunlight position at different times of day and year, and material and spatial quality," he told Dezeen.

The house is conceived as a lightweight timber pavilion in a woodland setting, made up of two volumes that overlap to frame a south-facing courtyard.

A concrete plinth will anchor the building to its site. Above this, a system of Douglas fir louvres will offer shading to the facades, particularly the glazed southern elevation that will allow the living and dining space to open out to the courtyard.

In the renderings, these surfaces are shown in the early morning and late afternoon. Goss said these times were chosen to show off the light and shadow qualities of his design.

"Every project we do is different and requires visualising in different ways," he explained. "With our new company, The Boundary, Peter Guthrie and I aim to develop this approach of visualising architecture in a manner appropriate to the design and setting."

"It can be a challenge convincing sunshine-worshipping developers and marketing departments that utopian imagery isn't always what will portray a building, or indeed a 'lifestyle', in its best light, but it is something that we feel has provided some extremely fruitful results over the past few years," he added.

As well as a generous living space, Carey House will feature a dining space for up to 12 people, a home cinema and games room, a top-lit swimming pool and a gym.

Upstairs, a master bedroom suite will sit at the east end of the plan, opposite a library and two smaller bedrooms.

"There was no stipulation regarding materials or forms, just an indication of spaces required," said Goss. "How the clients live and use space is always the most important aspect of the brief."

"This can then be explored though design with an aim to capture and enhance the essence of a lifestyle in ways which could never have been documented in any bald recitation of a written brief. Similarly, the visualisations aim not so much to record fact but rather evoke feeling, i.e. how a space might feel rather than what a space might look like," he said.

]]>http://www.dezeen.com/2014/10/15/carey-house-england-henry-goss-the-boundary-visualisation/feed/18Ström Architects designs a country house protruding over a wallhttp://www.dezeen.com/2014/05/10/the-quest-house-swanage-strom-architects/
http://www.dezeen.com/2014/05/10/the-quest-house-swanage-strom-architects/#commentsSat, 10 May 2014 08:00:01 +0000http://admin.dezeen.com/?p=455157These renderings depict a house designed by Ström Architects for the English town of Swanage, with a cantilevered section that shelters a parking space (+ slideshow). Hampshire-based Ström Architects was asked to design the home, called The Quest, for a wooded site overlooking a country park, replacing an existing single-storey dwelling. The brief was to make the most […]

Hampshire-based Ström Architects was asked to design the home, called The Quest, for a wooded site overlooking a country park, replacing an existing single-storey dwelling. The brief was to make the most of the views while minimising the impact on the sensitive scenic location.

To simplify the planning process and maintain the original property's modest presence, architect Magnus Ström chose to match the height of the old house but rotate the plan to improve views through the surrounding trees.

Limiting the property to one level also fulfills the request of the retired clients for an accessible home with open-plan living areas where they can entertain their children and grandchildren.

"The clients are in their seventies and wanted a comfortable house without internal stairs," Ström told Dezeen. "A single-storey house was therefore something that we quickly established as a real benefit."

To ensure that a driveway full of cars does not spoil views from the house towards the park or from the park back towards the house, the architect will made use of the sloping site by locating the parking area out of sight on the lower front section of the plot.

"We took advantage of the big level difference on the site so that cars can enter across the site, and park to the left of a retaining wall that separates service areas and the garden," explained Ström.

The long retaining wall will support cantilevered concrete slabs that will project over the parking space.

Materials will reflect the simplicity of the structure, with the concrete planes sandwiching timber walls and glass walls filling in the gaps around the facade.

The concrete slabs will be left exposed on the exterior and complemented by retaining walls and a chimney breast made from local Purbeck stone.

The home's internal layout will be configured with bedrooms at either end and the open-plan kitchen, living and dining area located in the centre of the building.

Steps along the rear wall of the parking area will ascend to the main entrance, while an alternative parking space at the rear of the plot on the same level as the house could be used in future to provide step-free access.

The design was granted planning permission earlier this year and construction is scheduled to begin in August.

The site is heavily wooded and enjoys a beautiful south aspect with a view over the Durlston Country Park. We early established the advantages of a single-storey building which helped from a planning point of view, as the proposed building is no higher than the existing and it allowed a simple arrangement of space suiting the clients' brief of a house for their 'retirement'. At the same time, the design reduces the visual impact from across the valley when looking back towards the house.

North elevation

The sloping site with protected mature trees very much dictated the positioning of the dwelling. Vehicular access is via the front of the property and we separated vehicles and entrance from the landscaped garden through a retaining wall that defines different levels. This arrangement also ensures cars are hidden out of sight, so that the view south is maximised.

East elevation

The single storey house, cantilevers over the retaining wall and provides protection to the car park and entrance. The large cantilever of the house is achieved through two concrete planes, the floor and roof acting together like a space beam. The concrete structure is then in-filled with simple timber dry-lining, leaving the concrete frame visible externally.

South elevation

The external retaining walls and chimney breast will be in local Purbeck stone.

]]>http://www.dezeen.com/2014/05/10/the-quest-house-swanage-strom-architects/feed/12Fantasy house by Benoit Challand perched on stilts in the Scottish highlandshttp://www.dezeen.com/2014/02/11/roost-house-by-benoit-challand/
http://www.dezeen.com/2014/02/11/roost-house-by-benoit-challand/#commentsTue, 11 Feb 2014 08:00:33 +0000http://admin.dezeen.com/?p=415609French visual artist Benoit Challand has combined the visual language of Le Corbusier's houses and Santiago Calatrava's sculptures to form a vision for a futuristic self-sustaining house on stilts (+ slideshow). Named Roost House, the conceptual residence is depicted in a set of photo-realistic renderings in a remote location in Scotland. It would be raised […]

]]>French visual artist Benoit Challand has combined the visual language of Le Corbusier's houses and Santiago Calatrava's sculptures to form a vision for a futuristic self-sustaining house on stilts (+ slideshow).

Named Roost House, the conceptual residence is depicted in a set of photo-realistic renderings in a remote location in Scotland. It would be raised several storeys above the ground on an angular scaffolding structure.

Benoit Challand designed the building to reference Villa Savoye and Cabanon, two of the most famous houses by modernist architect Le Corbusier, as well as a series of artistic sculptures by Spanish architect Santiago Calatrava.

According to the artist, the house would generate all of its own heating and electricity. "Using a bunch of new technologies, in terms of building engineering and environmental resources, this house is intended to be fully autonomous," he said.

Walls both inside and outside the house are pictured clad with timber. Protruding floor plates form balconies around the perimeter, while a vernacular pitched roof is topped with solar panels.

Residents could access the building by climbing a vertiginous ladder (not shown). There would also be a wind turbine attached to the undersides of the lowest floor.

Spaces inside the house are visualised containing a selection of iconic furniture designs, including the LC4 chaise lounge by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, and the LCW chair by Charles and Ray Eames.

]]>http://www.dezeen.com/2014/02/11/roost-house-by-benoit-challand/feed/26Olson Kundig and Jack Daws imagine a house on stilts above a polluted lakehttp://www.dezeen.com/2014/01/30/olson-kundig-jack-daws-house-on-stilts-polluted-lake/
http://www.dezeen.com/2014/01/30/olson-kundig-jack-daws-house-on-stilts-polluted-lake/#commentsThu, 30 Jan 2014 16:47:35 +0000http://admin.dezeen.com/?p=411105Seattle studio Olson Kundig Architects has produced visualisations imagining the fictional scenes before and after a freight train carrying toxic chemicals haphazardly plunged into a lake where artist Jack Daws was building a house on stilts (+ slideshow). As part of a project entitled The House That Jack Built, Olson Kundig's images accompany an account […]

]]>Seattle studio Olson Kundig Architects has produced visualisations imagining the fictional scenes before and after a freight train carrying toxic chemicals haphazardly plunged into a lake where artist Jack Daws was building a house on stilts (+ slideshow).

As part of a project entitled The House That Jack Built, Olson Kundig's images accompany an account written by Jack Daws of an imaginary series of events whereby the artist tried to build an enticing retreat, but ended up with a refuge in a perilous environment.

The story tells of how Daws had become disillusioned by architects' invasion of the art world and reacted by trying his hand at architecture.

Inspired by the houses of Seattle architect Tom Kundig, the artist planned a cabin at the centre of Walden Pond, Massachusetts, and built it on 24-metre stilts using tiles and rails pilfered from a local railway. This action destabilised the railway and led to the crash of the train.

Images and a model of the building are on show in the Mercer Gallery of Walden 3 in Seattle, presented as if the events genuinely took place.

"The installation is meant to be a starting point for self-reflection and a critical inquiry into contemporary society, engaging such topics as reincarnation, artistic attribution, admiration, false identity, thievery, tribute, injury and environmental degradation to ruin," reads the exhibition text.

The fictional tale also extends to the exhibition opening, where architect Kundig is reported to have taken a punch at Daws over the attempt to rip off his style. This scene is also visualised in a rendering.

The House That Jack Built is the first project by Olson Kundig Outpost, the firm's new visualisation studio, and forms part of the Itinerant Projects series of collaborations between the architects and various site-specific artists.

Here's more information from Jack Daws and Olson Kundig Architects:

The House That Jack Built

Conceptual artist Jack Daws, in conjunction with Olson Kundig Outpost, present a new work entitled The House that Jack Built. The work will be featured at the Mercer Gallery at Walden Three from January 17 through March 16, 2014.

The House that Jack Built is based upon The Pond (a somewhat mystical account of my foray into architecture), Daws’ firsthand account of his efforts to build a cabin in the middle of Walden Pond only to have a freight train loaded with toxic chemicals plunge into its waters. The installation includes Daws' story, a large-scale model of the cabin, and accompanying images depicting the pond before and after the environmental disaster. The installation is meant to be a starting point for self-reflection and a critical inquiry into contemporary society, engaging such topics as reincarnation, artistic attribution, admiration, false identity, thievery, tribute, injury and environmental degradation to ruin.

For Daws, and ultimately the subject of this exhibition, trouble began when he acted upon his growing irritation at architects for steadily eroding the boundaries of art and for taking art commissions he believes should be reserved for artists. His defiance led him to try his hand at architecture, and designing and building his own cabin - taking inspiration from the work of noted Seattle architect, Tom Kundig. Daws positioned his cabin, made from pilfered railroad ties and rails from a nearby railway, atop 80-foot steel rails in the middle of Walden Pond. Tragically, his theft of the rails led to the devastation of Walden Pond. In the post-accident image included in the exhibition, the wreckage of a freight train carrying toxic waste is shown spilling its contents into the idyllic setting.

Known to bend rules, Daws has made his mark challenging authority and tackling complex social issues. With The House that Jack Built, Daws threatens to challenge the boundaries of what an artist should be doing, and the territory they have no business meddling in. "I don’t care what my detractors think," said Daws. "La historia me absolverá." Greg Lundgren, executive director of Walden 3 adds, "Walden 3 prides itself on encouraging the artists it presents to take risks and challenge conventional wisdom. We do not censor their work or discourage their passions. But Jack took us to the absolute end on this one."

Two new ventures for Olson Kundig Architects have supported this installation: Itinerant Projects is the firm’s new installation program which will locate four migratory collaborations in site-specific installations across the globe; and Olson Kundig Outpost, a new creative production studio that supported Mr. Daws with photography and visual effects.

]]>http://www.dezeen.com/2014/01/30/olson-kundig-jack-daws-house-on-stilts-polluted-lake/feed/8London's future skyline captured in new visualisationshttp://www.dezeen.com/2014/01/24/londons-future-skyline-captured-new-visualiations/
http://www.dezeen.com/2014/01/24/londons-future-skyline-captured-new-visualiations/#commentsFri, 24 Jan 2014 16:49:28 +0000http://admin.dezeen.com/?p=409550This series of images by architectural rendering studio Hayes Davidson envisages how London's skyline might look in 20 years time. Over 200 towers with a height of 20 storeys or greater are planned in the UK capital over the next two decades and Hayes Davidson has visualised how these new buildings will appear alongside existing […]

]]>This series of images by architectural rendering studio Hayes Davidson envisages how London's skyline might look in 20 years time.

Over 200 towers with a height of 20 storeys or greater are planned in the UK capital over the next two decades and Hayes Davidson has visualised how these new buildings will appear alongside existing skyscrapers such as Renzo Piano's The Shard and Norman Foster's The Gherkin.

Existing view of London's skyline from Waterloo Bridge

The images were created for an exhibition opening later this year at New London Architecture (NLA) entitled London's Growing... Up! which will chart the growth of tall building construction in London since the 1960s and look at the impact skyscrapers will have on the city in the near future.

"As London's population gets bigger and bigger, and new development for London takes place within the constraints of the green belt, we have to increase the density of the city," said Peter Murray, who is chairman of NLA and the exhibition curator.

"This results in our buildings getting taller. The huge number of towers in the pipeline will have a significant impact on the look of London."

London's skyline is currently going through a massive change. Over 200 towers are planned in the capital in an attempt to meet the needs of the capital's growing population. So how will London's skyline change in the next 20 years?

This April, New London Architecture (NLA) – London's Centre for the Built Environment will explore this new skyline with London's Growing... Up! Through the use of images, video, models, CGI's and visitor interaction, the exhibition will present a past, present and future view of London's skyline as the capital's developers focus on building upwards rather than outwards.

Existing night view of London's skyline from Waterloo Bridge

There are over 200 towers, each more than 20 storeys, currently planned in London, around 150 of them new residential blocks. London's Growing... Up! offers a timely exploration into this hotly debated subject.

Since the emergence of skyscrapers in London in the 1960s, the capital's skyline has changed irrevocably. Visitors will explore the history of London's high­‐rise architecture through images, models and construction videos, witnessing how iconic structures such as the Barbican and Centre Point set a precedent for the future of the skyline. A series of panoramic views of London chart the ever­‐changing landscape, from the 1960s through to the modern day and demonstrating how London will appear in 10 years time.

Famous structures including Canary Wharf, The Gherkin and The Shard are examined in the exhibition, looking at their context, their economic raison d'etre and the impact they have on our understanding of the city.

Future night view of London's skyline from Waterloo Bridge

The exhibition will also explore the significant growth in high‐rise residential development. High‐rise residential was once only seen on council estates and glass skyscrapers were reserved for the business world, but the growing trend of luxury towers is currently providing the majority of new developments in the capital. Areas such as Nine Elms, Waterloo and White City will be explored, looking at why these new areas are attracting high­‐rise development and how luxury and affordable residential can coincide in London’s new vertical city.

Visitors will be able to have their say on what should or shouldn't be in the London skyline. Touch screen will enable guests to rewind time and fast­‐forward to the future to see how London has, and will be, developed. Visitors will have the opportunity to remove or change the location of buildings they don't like and even add buildings from other cities, making their own metropolis which will be posted onto the NLA's Twitter feed.